Transcript

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Postmodernism in Art: an IntoductionConsumer Culture: Art and TemporalityBackground: Wesselmann, Tom (1963) Still Life #30

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Consumer Culture: Art and TemporalityAvant-garde and KitschPop in Britain: the Independent GroupPop in America: Rosenquist , Wesselmann, Lichtenstein and Warhol.Brillo Boxes and the end of art?Simulation and Simulacra: From Baudrillard to Koons

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Avant-garde and Kitsch“Retiring from public altogether, the avant-garde poet or artist sought to maintain the high level of his art by both narrowing and raising it to the expression of an absolute in which all relativities and contradictions would either be resolved or beside the point... ‘Art for Art’s’ sake and ‘pure poetry’ appear, and subject matter or content becomes something to be avoided like a plague.” (Greenberg 1992, p.5)(First published in 1939)

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Avant-garde and Kitsch“Kitsch, using for raw material the debased and academicized simulacra of genuine culture, welcomes and cultivates ... Insensitivity. Kitsch is mechanical and operates by formulas. Kitsch is vicarious experience and faked sensations.. Kitsch is the epitome of all that is spurious in the life of our times [...] Formal culture has always belonged to the [powerful and cultivated]; while the [great mass of the exploited and poor] have had to content themselves with folk or rudimentary culture, or kitsch.” (Ibid, p. 10)

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“Topicality and a rapid rate of change are not academic in any usual sense of the word, which means a system that is static, rigid, self-perpetuating. Sensitiveness to the variables of our life and economy enable the mass arts to accompany the changes in our life far more closely than the fine arts which are a repository of time-binding values.” Lawrence Alloway (1958) The Arts and the Mass Media

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Brillo boxes and the end of art?First Exhibited in the Stable Gallery, New York. 1964

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“Art was no longer possible in terms of a progressive historical narrative. The narrative had come to an end... [This], in fact, was a liberating idea, or I thought it could be. It liberated artists from the task of making more history. It liberated artists from having to follow the ‘correct historical line’” (Danto 1992, p.10)

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“What Warhol’s dictum [that anything could be art] amounted to was that you cannot tell when something is a work of art just by looking at it, for there is no particular way that art has to look. The upshot was that you could not teach the meaning of art by examples.” (Danto 1992, p.5)

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Simulation and simulacra“[Reality, the Real,] no longer has to be rational, since it is no longer measured against some ideal or negative instance. It is nothing more than operational. In fact, since it is no longer enveloped by an imaginary, it is no longer real at all.”“It is no longer a question of imitation, nor reduplication, nor even of parody. It is rather a question of substituting signs of the real for the real itself; that is, an operation to deter every real process by its operational double... A perfect descriptive machine which provides all the signs of the real and short-circuits all is vicissitudes.” (Baudrillard [1983] 2001, p.170)